. . . for a couple of decades after World War II, Windgassen set Wagnerian standards, vocal and expressive. In the process, he redefined the nature of the heroic beast. He proved that intelligence, suavity, stamina and slender tone could compensate for any lack of superhuman power . . . This poignant collection, a fusion of two sets from the old DGG catalogue, documents Windgassen in his prime . . . his singing is impressive for its lyrical sensitivity, attention to verbal detail and respect for the impact of understatement. With Windgassen, less was always more. He focuses the death throes of Tristan with shattering intensity and forges Siegfried's sword with youthful, economic gusto . . . This is bel canto Wagner . . . Annelies Kupper matches Windgassen's lean pathos in "O Fürstin" from "Tannhäuser", and she returns as a luminous Eva to lead a gentle performance of the "Meistersinger" quintet.